Focusing on the clothing, I feel like you have too much complication, it's too over done. Wrinkles and folds need to follow the concept of stretch and pinch/tension. One side needs to be simple and the other side complex, because when everything is complex, it confuses the eye. I did a quick sketch that I hope helps :)

You did so much right with this, especially the pose. The tilt of the head creates a nice "S" curve through the body. The tilt of the shoulders working against the tilt of the hips makes the pose more dynamic. The only thing I would say about the pose is that the legs stiffen the pose a little. The forward leg is at a right, 90 degree angle which is always going to feel stiff. The other leg looks broken and is missing the swing of the gesture. Other then that, I think you did a pretty good job :)

I really like the way you kept the pallet to subdued reds blues and greens throughout the whole presentation. For a portfolio, you could add more sketches and iterations of character and props to show your thinking and design explorations. Overall though, I think this would look good in a portfolio.

Wow, great interpretation! This feels really on point for Lovecraftian horror. Great narrative in the props and environment, and your character feels right at home in the world you've created! I would love to see your take on what The Deep Ones look like in your story! Do you have any creature designs for them?

Hey, @krow! I love these! The paintings definitely have each one their own mood, and their distinct intentions feel clear. Nice job! And it reminds me of this project by Asia Gondek: https://www.artstation.com/artwork/59K6O I see @Steve Lenze and @paper have already given some helpful comments! I think Steve’s argument to focus on composition is certainly the most fundamental point in all this: using value to create intentional constrasts and, through it, lead the eye across the image. If you needed a subject for the next steps in your studies, it could be it. On that, as a suggestion, I think this series at CtrlPaint, even though it’s about rendering, also has some insightful tips about how to approach value: https://ctrlpaint.myshopify.com/products/basic-rendering-3-realism And if you’d like something more in-depth, I’d recommend looking up lessons by Bill Perkins at New Masters Academy: http://www.nma.art Hope this helps!

Hey Krow, I like what your doing here, creating different moods. As I look at these, some things become apparent that could be done to make these stronger. #1 Making the opening in the door is good, it creates contrast to draw the eye there. The problem is that your lightest elements are concentrated on the left of the image causing me to want to look there. #2 The only place my eye goes is to the ground in front of the door. I didn't even realize there was a figure in the doorway. #3 There isn't enough contrast to draw my eye anywhere in the image. It becomes about the light rays (which are cool) #4 The last image is the most successful. The area of greatest contrast always attracts our eye first, this one does that well. Even the shadow on the ground leads the eye to the figure in the doorway. Mood is important, but it doesn't do any good if people aren't looking where you want them too. Always thing composition first.

Pretty good!I think you have a healthy balance of soft and hard edge in all this painting.I guess if I have to give a critique is that the painting on the bottom left,the one with the stone road,I think the perspective is a bit skewed.The rocks feel like it should be a bit more flat,like it shouldn't feel that titled down (if that make sense) And I guess the second would be the bottom right,particulary how the shadow of the person is a bit too hard edge and it feels like it's distracting from the man in the hallway. Well that's all I got,I don't think I have more in me,sorry